~ Animation ~
Startling by Linda France
British filmmaker Kate Sweeney, whose work we’ve featured here in the past, collaborated with one of my favorite contemporary ecopoets, Linda France, for a poetry film in support of her tenth collection with Faber. Here’s the YouTube description:
A short film by Kate Sweeney, with poetry written and read by Linda France.
“I have taken to counting what I want to call ‘Startlings’. They are creatures who, sensing their species is facing extinction, feel the cell-tingling impulse to evolve and ensure their survival. Within their tissue and bones, hearts and minds, they enact the necessary transformation. For every Endling there is a Startling.”
To celebrate the publication of Linda France’s tenth poetry collection – influenced by her three years of writing the climate – artist Kate Sweeney has created a new film responding to Linda’s words.
Linda France’s residency as Climate Writer was supported by New Writing North, Newcastle University and Arts Council England. Startling was published in partnership with Faber Books.
Find out more about the residency and its projects: https://newwritingnorth.com/event/writing-the-climate/
Order a copy of Startling: https://www.faber.co.uk/product/9780571379026-startling/
Soy Tierra Desgajandome / I Am Soil Breaking Off by Paloma Sierra
A videopoem exploring Puerto Ricans immigrants’ feelings of belonging and alienation by Pittsburgh-based poet and director Paloma Sierra, animated by L.A. artist Andrew Edwards (click though to view storyboards from the animation). Grants from the City of Asylum and Carnegie Mellon University helped underwrite the production, including music by Dusty Sanders and audio engineering by Sebastian Gutierrez. The English translation in titling is the work of Abigail Salmon.
This is our second post of a Paloma Sierra video. Marie Craven shared Every Word I Say to You back on August 2.
The More Loving One by W. H. Auden
Auden’s poem animated by Taiwanese filmmaker Liang-Hsin Huang for The Universe in Verse, “A project by Maria Popova in partnership with On Being“. Here’s Popova’s post introducing the new video. A snippet:
In what may be the single most poignant one-word alteration in the history of our species, [Auden] changed the final line of the penultimate stanza to reflect his war-annealed recognition that entropy dominates all. The original version read: “We must love one another or die” — an impassioned plea for compassion as a moral imperative, the withholding of which assures the destruction of life. But the plea had gone unanswered and eighty million lives had gone unsaved. Auden came to feel that his reach for poetic truth had been rendered “a damned lie,” later lamenting that however our ideals and idealisms may play out, “we must die anyway.”
A decade of disquiet after the end of the war, he changed the line to read: “We must love one another and die.”
The reading is by Janna Levin, and Garth Stevenson composed the music.
How to Triumph Like a Girl by Ada Limón
This is “An animation created for MTV’s Women’s History Month. It was made using watercolor cut paper stop motion” by Providence, Rhode Island-based artist and animator Hayley Morris. Ada Limón is the poet. See Vimeo for the full credit list.
Octopus Empire by Marilyn Nelson
James Dunlap animates art by Edwina White in a recent video from blogger Maria Popova’s wonderful Universe in Verse series, in collaboration with On Being, mixing science and poetry. Here’s how she sets this one up:
The octopus branched from our shared vertebrate lineage some 550 million years ago to evolve into one of this planet’s most alien intelligences, endowed with an astonishing distributed nervous system and capable of recognizing others, of forming social bonds, of navigating mazes. It is the Descartes of the oceans, learning how to live in its environment by trial and error — that is, by basic empiricism.
Meanwhile, in those 550 million years, we evolved into creatures that placed themselves at the center of the universe and atop the evolutionary ladder, only to find ourselves in an ecological furnace of our making and to reluctantly consider that we might not, after all, be the pinnacle of Earthly intelligence.
That is what Marilyn Nelson explores with great playfulness and poignancy in her poem “Octopus Empire,” originally published in the Academy of American Poets’ poem-a-day lifeline of a newsletter and now brought to life here, for this seventh installment in the animated Universe in Verse, in a reading by Sy Montgomery (author of the enchantment of a book that is The Soul of an Octopus) with life-filled art by Edwina White, set into motion by her collaborator James Dunlap, and set into soulfulness by Brooklyn-based cellist and composer Topu Lyo.
Click through to The Marginalian to read the rest (including the text of the poem). For more on Nelson, see her Poetry Foundation page.
We Are The War by T&DA
A fascinating experiment in AI-generated videopoetry from an artists’ collective in Sydney, written and directed by Tyrone Estephan.
We Are The War | CLIP-Guided Storytelling & Speech Synthesis
At T&DA we have explored leveraging the latest technologies to create ‘We Are The War’, an animated graphic novella poem, where both the images and narration were generated through visual and audio synthesis.
Created using prompts inspired by children’s book illustrations and the lines of our poem, images were generated using Midjourney. The narrator was generated through speech synthesis software that only needed 15 minute sample of talking.
To add parallax and depth to the scenes we used neural Z depth extraction.
Using these tools we tell the story of children’s metaversal shenanigans as realities of recent years bleed into their locked down lives. We can think of this technology almost as if it’s a 10 year old expressing itself, which felt like the perfect means to convey the sentiments of the poem.
Tyrone Estephan – Written & Directed
Sean Simon – Visuals & Post
Josh Kell – Online Editor
The Opposites Game by Brendan Constantine (2)
A classroom erupts into a war of words as students grapple with a seemingly simple prompt: what is the opposite of a gun?
This animation of Brendan Constantine‘s poem by Anna Samo and Lisa LaBracio went viral, with more than 24,700 views on Vimeo and 364,814 views
on YouTube. It probably helps that it was a Vimeo staff pick. But it’s also
part of TED-Ed’s series, “There’s a Poem for That,” which features animated interpretations of poems both old and new that give language to some of life’s biggest feelings.
See the Vimeo description for the full credits and list of honors.
We previously shared Mike Gioia’s film adaptation of the same poem. I’m not sure which I prefer; both have their strengths.
Because Goddess is Never Enough by Rosie Garland
Because Goddess is Never Enough draws its inspiration from the life of Austrian-born dancer, choreographer, actor and painter, Tilly Losch (1903-1975). The film is a collaboration between film-maker Jane Glennie and writer/performer Rosie Garland, both award-winning artists in the UK. The subject is the representation of women artists in history, especially the ways their stories have been footnoted in relation to famous men. One of the film’s lines about Tilly’s place in history: “blink and you’ll miss her”.
From the web page for the film:
Tilly Losch was an Austrian dancer who worked with prominent, and cutting-edge, choreographers and artists in the UK and the US, from the West End to Hollywood. She was also a choreographer in her own right, who later turned to painting.
Through moving images and poetry Glennie and Garland investigate the elusive and fragmentary nature of Tilly’s life, evoking the spirit of the 1920s–40s when she was at the peak of her fame.
The film is about self-worth, the authentic self, and the credibility of creative women – Losch was someone who was at times exploited yet determined to maintain a path of her own making despite the obstacles that were very much present in her era… highlighting how far women have come in 90 years, and yet how far they still have to go to get recognition and true independence.
Jane Glennie’s film-making most often involves rapid animation of still images, creating a highly dynamic sense of cinematic motion. At ten minutes duration, this is her most ambitious film to date, involving thousands of her own photographs, meticulously layered with contrasting rhythms that underscore voice and text.
Rosie Garland’s expressive narration of her own poem is highly effective. Her voice alternates with that of Alison Glennie, equally as effective in the first-person sections that evoke Tilly speaking for herself. The overall soundtrack is mainly just the two voices accompanied by textural sound effects. This minimal approach proves an excellent stylistic choice.
All the different elements of the film combine organically and assuredly, suggesting a great collaboration between the artists involved. Because Goddess is Never Enough is a unique evocation of one woman’s creative life and by extension the lives of so many creative women throughout time.
Requiem for a spoken word by Marc Zegans
In Requiem for a spoken word, a short poem by Marc Zegans comes into play with experimental computer animation by Jim Hall. Both artists approach their work with a jazzy, improvisational openness that makes for a quirky videopoem about a single word.
A number of Marc’s collaborations with different film-makers have been shared before here at Moving Poems, as well as an interview with him by Dave Bonta.
This video came to my attention while scrolling the list of finalists at the 2021 Ó Bhéal International Poetry-Film Competition in Ireland. It is also published on the website of +Institute for Experimental Arts in Athens, which runs the video poetry festival there each year.
Jabberwocky by Lewis Carroll
Lewis Carroll‘s famous nonsense poem Jabberwocky has been adapted to the screen many times. This version from 2020 by Dutch artist Sjaak Rood was produced for TED-Ed as part of a series of collaborations between educators and film animators. Music is by Mark Nieuwenhuis with narration by Jack Cutmore-Scott. It was a 2021 finalist in the Ó Bhéal Poetry Film Competition in Ireland.
Moving Poems has previously shared two other film versions of Jabberwocky as well as an adaptation of Carroll’s The Mad Gardener’s Song.
Dirge Without Music by Edna St. Vincent Millay
Amanda Palmer reads Edna St. Vincent Millay in this animation by the award-winning children’s book author and artist Sophie Blackall, with music by Tom McRae. It’s last month’s installment for the wonderful Universe in Verse series, which we’ve been kind of sleeping on here. Maria Popova notes in her introduction to the series on her website that
The Universe in Verse was born in 2017 as a charitable celebration of the wonder of reality through stories of science winged with poetry — part resistance (to the assault on science and the natural world in an atmosphere of “alternative facts” and vanishing ecological protections) and part persistence (in sustaining the felicitous expression of nature in human nature, with our capacity for music and mathematics, for art and hope.)
For four seasons (below, in reverse chronology), it remained a live gathering — thousands of embodied universes of thought and feeling, huddled together in a finite space built in a faraway time when Whitman’s living atoms walked the streets outside.
In this interlude between gatherings, as we face the biological and ecological realities of life with widened eyes, I have entwined visions with my friends at On Being to reimagine the spirit of The Universe in Verse in a different incarnation, a year in the making: a season of stories about epoch-making events, discoveries, and unsung heroes from the history of science — this common record of our search for truth and the native beauty of reality — each illustrated in poetry’s lovely abstract language, with an animated poem.
Be sure to read the rest and check out all the films. We’ll share more of them here as time permits. I also strongly recommend Popova’s essay introducing “Dirge Without Music,” which for its “unsung hero” presents an engaging account of mathematician Emmy Noether (1882–1935). A stanza from Millay’s poem was read at her funeral.
Bullets by Brayden
For World Poetry Day, here’s an Ohio preschooler’s poem animated by Ukrainian artist Stas Santimov. It’s from a project called Preschool Poets:
Old snakes, loose teeth, hot tubs, and ugly people in your face.
This is the world when you are four.For nearly a decade, resident artist Nancy Kangas led a poetry program for preschool-aged children at Columbus Early Learning Centers on the near east side of Columbus. She was struck with how clearly her kids wrote about what they loved and feared. They want bullets to relax, lions to roar, and kids to climb up to the sun.
Nancy and documentary filmmaker Josh Kun asked award-winning international artists to animate these poems, and the resulting hand-crafted animations show a depth and complexity of expression we don’t expect from four-year olds. The films are fueled by the children’s untethered imaginations, but they open a portal to the real world of growing up in the inner city.
Thanks to Maria Popova for highlighting this. You can read the text of the poem there, or at the project site.
